Valuables S
by Rhea's Teleplays
Summary: While processing a multiple shooting in the Hamptons, a gunman shoots NY CSI Lindsay and takes Danny hostage. A Secret Service agent arrives asking questions, forcing Mac to pit wits against him, while trying to save his CSI.
1. Teaser

CSI: NY

"Valuables"

TEASER

FADE IN:

EXT. NEW YORK CITY (STOCK) - DAY

To establish. Moving from the bustle of the city to...

EXT. HAMPTONS - DAY

Homes of the rich and famous. Extravagant. The rich going on with their lives, oblivious to...

INT. 14283 RHIANNA DRIVE - FOYER - DAY

Gunfire explodes everywhere. A woman is hit and screams as she falls. The defenders are house servants who fire back at their attacker -- one man armed to the teeth like Rambo and twice as deadly.

Bullets hit hanging pictures and expensive sculptures, showering the defenders with razor sharp shrapnel.

Behind the line of defenders, a **GRAYING MAN** leads **ANA**, a teenager, toward the stairs. Although her tank top and lounge pants are soaked in blood, the girl is unharmed. Like the rest of the defenders, she has black hair and dark skin. She hides her fear well. The graying man carries a metal case in one hand and fires back at the assailant with a military issue semi-automatic pistol.

When he runs out of bullets, the graying man pulls her onto the stairs and out of harms way. From this position he can see that the defenders were loosing. He turns to the girl, pressing the handle of the case into her hand. The man and teenager both have Tongan accents.

GRAYING MAN

Upstairs.

In typical teenager defiance, she shakes her head.

ANA  
No. I'm not running. I won't--

The man smiles, laying his hands on her cheeks. He loves her, but he can't afford to be patient.

GRAYING MAN  
Go, Princess. Run!

She hesitates, on the verge of sticking with her defiance. Then she sprints up the stairs. The man turns, picks up a rifle from a fallen defender, stuffs shells in pockets, and comes around the corner firing -- only to die.

INT. 14283 RHIANNA DRIVE - BEDROOM - DAY

The teenager runs into the room, slowing only to flick the light switch. The room has a large bank vault style door that is painted to match the rest of the room. Next to the door is a biometric scanner with an outline where the hand should go. At the top of the plate are two lights: red and green. The red light is currently lit.

Ana presses her shaking hand down on the plate. The red light goes off, and a turquoise light scans her palm. There is an 'error' beep before the red light comes back on. She curses in her native tongue, pulls her hand back, and pushes it down again. The same thing happens.

She freezes, listening. There is no gunfire. She looks over her shoulder, staring into the hallway. A board down the hall creaks, startling her back into motion.

Ana lifts her hand and presses it firmly against the plate. A green light replaces the red one. She grabs the door handle and pulls open the steel door, slipping into the room behind it.

The teenager turns, staring into the hall as she pulls it closed. The door clicks shut, the only sound in the now silent mansion nestled in the Hamptons.

SMASH CUT:

OPENING CREDITS.

FADE OUT.

END OF TEASER


	2. Act One

ACT ONE

FADE IN:

EXT. HAMPTONS - EVENING

The sun sinks in the west...

EXT. CSI VEHICLE - EVENING

Night falls quickly, seeming to be fleeing the vehicle cruising through the luxurious neighborhood. Some of the behemoth domiciles are hidden behind artfully trimmed shrubbery while others sit like kings on thrones for the world to worship.

Here homeowners were unconcerned with conservation and large electric bills, and the houses are lit up in the fading daylight.

INT. CSI VEHICLE - EVENING

**DANNY** leans over the steering wheel as he drives so he can stare at the houses. In the passenger seat, **LINDSAY** is entering phone numbers into a new cell phone. Strung on her lap, the floor and dash, are paperwork and accessories for the small phone. She looks up as the vehicle begins drifting across the centerline toward the curb.

LINDSAY  
Danny. Road.

He looks back at the road, but before long, his eyes have been drawn back to the mansions.

LINDSAY  
Danny! Car!

Danny pulls back into the lane, nearly missing an accident.

LINDSAY  
They're just houses, you know.

He glances at her.

DANNY  
You haven't stopped playing with  
that since we left the station.

LINDSAY  
I just got it.

DANNY  
What was wrong with your other one?

LINDSAY  
I broke it Friday. You remember.

DANNY  
I do?  
(thinks)  
Naw. I don't. What happened to it?

She smiles at him.

LINDSAY  
You have the shortest short-term  
memory of any one I know.

He fake-laughs at her jab and then points ahead.

DANNY  
I think we should check out those  
red and blue lights up there. See  
if they got anything good is happening.

She looks up, watching the lights as he slows to turn into a driveway. The only light on in this mansion is in one bedroom on the second floor. The iron gates that would normally have blocked them entering are bent back.

LINDSAY  
We'll have to check those out on  
the way out.

DANNY  
I don't think the gates committed a  
multiple murder. We don't have to  
question them

She looks at him and he's wearing a mischievous grin.

LINDSAY  
I'm stuck with you all night,  
aren't I?

DANNY  
(laughing)  
Is it so bad?

LINDSAY  
(cool)  
Only when I laugh.

DANNY  
Ouch!

She laughs with him.

Danny parks behind one of the two police cars and they get out.

EXT. 14283 RHIANNA DRIVE - EVENING

The two start up wide marble stairs. They don't see a shadow move across a dark window overhead.

At the top, two policemen and Detective **FLACK** are trying to talk with a robust dark skinned woman. She rambles frantically in Tongan with an occasional English word slipping out.

Flack sees the two and starts down the steps

FLACK  
Danny. Linds.

He meets the CSI in the middle of the steps.

FLACK  
Do either of you know what language  
she's speaking?

LINDSAY  
What little I remember, it isn't French.

DANNY  
Or Spanish.

FLACK  
(frustrated)  
Or Italian, or Japanese, or German,  
Swedish, Portuguese, or Russian.

LINDSAY  
(impressed)  
You speak all of those?

FLACK  
Naw. Officer Jacobs up there does.  
He said her language sounds real  
familiar, but he can't put his  
finger on what it is exactly.

DANNY  
So she hasn't told us anything?

FLACK  
She knows a little English. What we  
gathered is she came back from  
somewhere and found the house  
a mess.

Lindsay watches the woman try going back inside, but one of the officers stop her. The woman starts talking louder, pointing into the house, desperate.

LINDSAY  
And what does this woman have to do  
with the scene?

Flack glances at her.

FLACK  
She has a greencard, so it's  
possible she might work here. We  
don't have the homeowner's name  
yet. I'm going to take her to the  
station and see if I can find  
someone who understands her. This  
looks like a mob hit, but too soon  
to tell, I guess.

DANNY  
Just jumpin' to conclusions, why  
don'tcha.

Flack turns to him to comment and Danny shoots him an ornery grin. Flack looks at Lindsay.

FLACK  
He slept how long?

LINDSAY  
Ten hours.

FLACK  
(to Danny)  
Glad I'm not stuck with ya, I'd  
have to kill ya.

DANNY  
At a murder scene? That's not very creative!

Flack shakes his head as he heads up the stairs to the officers and woman. Lindsay stares at Danny.

DANNY  
What?

LINDSAY  
Mac was going to take this call  
with you. I volunteered. You'd  
better behave yourself, Danny boy.

Danny leans in.

DANNY  
Since when do you like me behaving?

She grins with him and they continue up the stairs, passing Flack leading the witness down the stairs. She's babbling in Tongan, Flack's telling her what's happening -- they don't understand each other. The CSI stop at the door and look over the bloody mess inside.

DANNY  
And on such pretty carpet, too.

Lindsay and the policemen laugh. Danny sets his kit down and acts as if nothing has happened. He turns to Officers **JACOBS** and Raimes while he pulls on paper booties.

DANNY  
So you two are our baby-sitters

JACOBS  
Looks that way.

DANNY  
Order us some pizza. Lotsa pepperoni.

JACOBS  
No.

DANNY  
What kinda baby-sitter are ya?

JACOBS  
The kind that makes you get your  
own coffee.

Danny chuckles.

DANNY  
You had younger siblings, didn't you?

JACOBS  
Yes I did.

Danny picks his flashlight out from the kit and switches it on. Danny pauses, looking Jacobs in the eye.

DANNY  
If you hear my girlish screams, send  
in Alice. The dead have come back  
to life.

Danny disappears inside. Officer Jacobs looks at Lindsay.

JACOBS  
He been on his meds long?

She hops a couple times as she pulls on a bootie, and then picks up her kit.

LINDSAY  
He hasn't had any meds, he came to  
work this and it's only gotten  
worse. Fear for your lives, gentlemen.

The officers chuckle. Lindsay heads inside.

INT. MAC'S OFFICE - NIGHT

**MAC** is focused on finishing the notes on a case report. He notices Special Agent **CUSACK** walking down the hall as he looks up. A fit Bowflex man in his early forties, Cusack nicely fills out his standard black suit, white shirt, black shoes and tie. He wears an earpiece attached to a receiver hidden inside his suit jacket.

He's stops a lab tech, they talk for a moment, and then the lab tech points right at Mac. Cusack doesn't look up, he says something else, and then heads to Mac's office. Mac minimizes the report as Cusack walks in.

CUSACK  
Detective Mac Taylor?

MAC  
I am.

Cusack produces an identification wallet.

CUSACK  
Special Agent Tom Cusack, Secret Service.

MAC  
Nice to meet you. What has you  
working so late?

Cusack doesn't acknowledge the question. He's used to doing his work quick and efficiently.

CUSACK  
You have two CSI working a crime  
scene at 14283 Rhianna Drive. Tell  
me about that crime scene.

MAC  
How do you know about that?

CUSACK  
What can you tell me about it?

Mac becomes suspicious.

MAC  
It isn't a crime scene, yet. How  
did you learn about it?

CUSACK  
It's a multiple shooting. What else  
could it be?

MAC  
Until I hear back from my CSI, it's  
a location of interest. How did you  
learn about it?

Cusack offers a fake, plastic smile as he sits down in a chair in front of Mac's desk. He settles in for a long conversation.

CUSACK  
For the sake of argument, let's  
pretend it's a crime scene. What do  
you know so far?

MAC  
I'd like to know why the Secret  
Service is asking questions about  
an alleged crime scene in the  
Hamptons? Who lived at the  
residence?

CUSACK  
That's need to know, and at this  
time, Detective, we have decided  
you don't need to know.

That pushes all of Mac's buttons and makes him unwilling to cooperate.

MAC  
Come back with a court order if you  
want me to release information to  
you.

Cusack stands.

CUSACK  
Sure. In the mean time, I'll take a  
look around your lab. Make sure  
there's nothing that needs reported.

MAC  
Stay out of the chem lab. They're  
testing meth equipment. I'd hate  
for you to blow up my lab techs  
making sure nothing needs reported.

Cusack leaves, pulling a smart phone from his jacket. Mac makes a cell phone call of his own.

DANNY (ON PHONE)  
Messner.

MAC  
Danny. I need you and Lindsay to  
pick up the pace. The Secret  
Service has an agent here asking  
questions about the scene, and not  
saying why.

Mac looks up, right into Cusack's eyes. Cusack has his earpiece pushed in as he listens to something.

DANNY (ON PHONE)  
Okay. I'll let Lindsay know.

Mac hangs up. Cusack turns and strolls down the hall.

INT. 14283 RHIANNA DRIVE - STAIRCASE - NIGHT

In the foyer hangs a flag. It is red with a white square in the upper left corner. Inside the square is a red cross like the Red Cross emblem.

Moving her field kit up one step at a time, Lindsay dusts and removes prints along the stair banister. She keeps glancing up at the flag while she works. At the top of the stairs, she stops to stare at it.

Danny walks into the foyer and stacks six more bagged weapons on a pile that has amassed near the door. She watches him with a love struck smile. He stands up, looking into the parlor.

DANNY  
Lindsay?

She pulls her Maglite from the case on her belt and shines it in his eyes when he turns.

DANNY  
Lindsay!

She giggles, lowering her light. He smiles.

LINDSAY  
That's for stealing my french  
fries. Hey, what do you make of  
this flag?

He looks at it.

DANNY  
Hard to say. Get a picture while  
you're up there. Flack 'n' Mac  
called, and...

She starts giggling again.

LINDSAY  
Flack 'n' Mac, huh?

He laughs.

DANNY  
That was bad, wasn't it?

She nods.

DANNY  
Flack said they still don't know  
what language the lady's talking,  
but through some charades and her  
little English, they've determined  
that she's the cook and there's  
supposed to be a young girl here.  
He wasn't sure how young, but he  
thinks younger than the twenty-  
something I found in the kitchen.

LINDSAY  
A teenager?

DANNY  
He just said--

LINDSAY  
A child?

DANNY  
I dunno. He just--

LINDSAY  
A baby?

DANNY  
I don't know. He just said--

LINDSAY  
Geeze, Danny! Did you get your CSI  
badge from the bottom of a cereal box?

DANNY  
You're not about to let the fry  
stealing go, are you?

LINDSAY  
Nope! What did Mac say?

DANNY  
The Secret Service has taken an  
interest in this case.

LINDSAY  
Why? Who lived here?

DANNY  
The agent wouldn't say, but Mac  
wants us to collect evidence as  
fast as we can in case they decide  
to move in.

LINDSAY  
Was that all?

DANNY  
Yeah.

Danny doesn't move.

LINDSAY  
You're sure that's all?

DANNY  
Yeah.

He still doesn't move.

LINDSAY  
So if you're going to go, go already!

He walks away laughing. She heads down the hall with a smile and her kit.

INT. 14283 RHIANNA DRIVE - BEDROOM - NIGHT

Lindsay enters the room, taking a visual inventory first. Valuables sit out everywhere -- this was not a robbery. She walks over to the bank vault door and biometric plate. She places her hand on the plate. The turquoise light scans her hand, there is an 'error' beep, and the red light comes on again. Turning her attention to the door, she runs her flashlight along the edge. She stops the light on a dark tinted dome over the door.

A board creaks behind her and she spins, her hand going to her sidearm. It's just a dark, empty hall beyond the door. She relaxes and turns her attention to the bioscanner to start printing it. She just gets the lid off the fingerprint dust when the locks on the door click.

The door swings open, revealing Ana. She's still wearing her tank and lounge pants, but has washed the blood off her face and arms. She's terrified and anxious, and holds the door handle with both hands.

LINDSAY  
Hi. I'm Lindsay. I'm with the New  
York police department.

ANA  
Is everyone dead?

Lindsay nods.

LINDSAY  
Are you hurt? You have a lot of--

ANA  
I'm fine.

LINDSAY  
It's been rough tonight, hasn't it?

The teenager doesn't answer.

LINDSAY  
I know what you must feel like. I  
was about--

ANA  
You have no idea what I feel like.

A board creaks. Lindsay turns, staring down the barrel of the **GUNMAN's** pistol. He too is from Tonga with dark skin, black hair, and a Tongan accent when he speaks. Her hand moves toward her gun.

GUNMAN  
Don't do that.

Lindsay's hand drifts away from her gun. She cautiously places herself between the teenager and gunman.

GUNMAN  
Tell the child to come out.

LINDSAY  
(to Ana)  
Close the door. Quickly.

GUNMAN  
That was stupid.

The gunman fires.

MATCH CUT:

INT. 14283 RHIANNA DRIVE - LIVING ROOM - NIGHT

Danny looks up at the sound of the gunshot.

DANNY  
LINDSAY!?

He drops what he's doing, running for the stairs.

INT. 14283 RHIANNA DRIVE - UPSTAIRS HALL - NIGHT

The policemen burst in and are right behind him as he dashes up the stairs. At the top of the stairs they go left, he goes right. All three draw their weapon, slowing to search the rooms.

INT. 14283 RHIANNA DRIVE - BEDROOM - NIGHT

Danny slowly enters.

DANNY  
Linds... You in here?

The bedroom door has been pushed all the way back against the wall. Danny notices Lindsay's spilled kit sitting next to the panic room door. Blood and fingerprint dust have splattered the outside. The door is shut and the biometric plate has a red light at the top.

Behind Danny a closet opens and the gunman creeps up behind him. He raises his gun, aiming at Danny's head.

DANNY  
Lindsay! Answer me!

The gunman presses the end of his gun against Danny's head and the CSI freezes.

GUNMAN  
Give me your gun.

Danny doesn't comply. The gunman moves close to Danny. He runs his hand down Danny's arm, across his hand, over the top of the barrel. The sensual move disturbs Danny. It throws him off guard when the gunman speaks with his lips brushing against Danny's ear.

GUNMAN  
Don't die from stupidity like she  
did. Give me your gun.

Danny lets go and the gunman takes it. He slides it in his waistband.

GUNMAN  
Now turn to face the door. Do  
nothing else.

Danny obeys. The gunman stops him, running his hand down to Danny's waist. Danny tenses when the Gunman moves close, pressing his body against Danny's.

GUNMAN  
(whisper)  
Don't make a sound.

They can hear the officers in the hall approaching. The policemen come in and immediately aim their guns.

JACOBS  
Drop it!

GUNMAN  
I'd rather not kill him, but I  
guess that's really your decision,  
isn't it, officers?

The officers hesitate, and then lower their weapons.

GUNMAN  
Put them on the floor

The policemen obey.

GUNMAN  
Now we're all going to the basement.

He gives Danny's shoulder a squeeze, gently pushing him forward. The group leaves the room.

FADE OUT.

END OF ACT ONE


	3. Act Two

ACT TWO

FADE IN:

INT. MAC'S OFFICE - NIGHT

Mac is looking through case files when Cusack strolls in and sits down.

MAC  
I'm waiting for that court order,  
Agent Cusack.

CUSACK  
An officer just brought in a  
witness from 14283 Rhianna Drive.  
You probably need a translator.

Mac sets the papers down.

MAC  
And which officer is that?

CUSACK  
Detective Donald Flack.

MAC  
I never said he responded to that scene.

Cusack's plastic smile returns.

CUSACK  
I never said you did.

MAC  
And you just happen to speak the  
witness's language?

CUSACK  
I do.

MAC  
You show me that jurisdiction  
order, and we'll talk about it.

CUSACK  
You and I both know that takes  
time. Meanwhile, that housemaid  
could be retaining key information  
to your investigation. The killer  
could be escaping as we speak while  
you're busy nursing your pride over  
an assumption I've insulted you.

MAC  
Have you?

CUSACK  
Have I what?

MAC  
Insulted me?

CUSACK  
Do you feel insulted?

Mac contemplates his answer. Cusack believes he will get what he wants, making him smug.

MAC  
Ever since you walked through that  
door, you have done nothing but  
insult me.

Silence. Cusack's smile wanes. They glare at one another. **STELLA** walks in.

STELLA  
Mac, we're...

Stella looks from one man to the other. She recognizes a war when she sees one. Cusack makes the first move.

CUSACK  
I can see we've gotten off on the  
wrong foot. Let's--

MAC  
There is no right foot at this point.

Mac stands. He's beyond angry.

MAC  
And if anyone is withholding vital  
information to this case, it's you.  
You want to talk to the witness?

Cusack nods, starting to answer.

MAC  
My CSI is accompanying you and  
recording the conversation.

CUSACK  
Detective Taylor, I--

MAC  
And unless you can produce that  
court order in the next two minutes,  
this is not open for negotiation  
because when we find an interpreter,  
and we will, we'll find out what  
you and the witness actually talked  
about; not what lies you're going  
to tell me when you're done.

Cusack slowly stands.

CUSACK  
Now you've insulted me.

MAC  
Stella, do not leave Special Agent  
Cusack alone with the witness for  
even a second.

STELLA  
I won't.

CUSACK  
I'm only trying to help, Detective Taylor.

MAC  
Get out of my office!

Cusack leaves. Stella and Mac meet eyes. She shrugs her eyebrows before following Cusack out. Mac angrily grabs the handset off his desk phone and savagely jabs the buttons to dial a number.

INT. 14283 RHIANNA DRIVE - BEDROOM - NIGHT

Danny sits in a chair near the panic room door. The gunman stands at the window, watching outside. On the bed are all the weapons Danny had gathered earlier, including Danny's and the officer's sidearms. The clock beside the bed reads: 11:54 PM.

Danny looks at the blood and fingerprint powder on the door.

DANNY  
Did you really kill Lindsay? Is  
that her blood on the door?

GUNMAN  
It is, and I never miss.

DANNY  
What did she do? Draw her gun?

GUNMAN  
She ignored my order.

The gunman looks up at Danny, holding his eyes.

Danny's cell phone rings. He doesn't answer it. The gunman strolls to him.

GUNMAN  
Answer it.

Danny doesn't do it.

GUNMAN  
(softer)  
Danny, answer your phone.

Danny obeys.

DANNY  
Messner.

MAC (ON PHONE)  
Where's Lindsay? Her phone is going  
straight to voicemail.

GUNMAN  
Is it your boss, Danny?

Danny looks up at him. How does he know his name?

DANNY  
Yes.

MAC (ON PHONE)  
What?

The gunman takes the phone, his fingers brushing against Danny's face. Danny pushes the phone into the man's hand to get his fingers off him. The man holds Danny's gaze while he talks.

GUNMAN  
Danny's boss, this is Danny's  
captor. I have demands.

INT. MAC'S OFFICE - NIGHT

Hearing the gunman stuns Mac for a few seconds. He looks out into the hall. People pass by as if nothing is happening -- for them, nothing is.

MAC  
We don't negotiate with terrorists.

GUNMAN (ON PHONE)  
I'm not a terrorist and if you care  
about what happens to Danny, you'll  
do exactly as I tell you.

He looks down at his desk, tapping a finger against the top.

MAC  
I'm listening.

INT. 14283 RHIANNA DRIVE - BEDROOM

GUNMAN  
We're at 14283 Rhianna Drive. You  
will not send police, there will be  
no helicopters, the media will not  
be alerted. If I see so much as a  
shadow outside, Danny, you're  
employee, will practice flying from  
the roof onto concrete. And since I  
have a cache of prisoners, we can  
practice this a few times until you  
get it right. Do you comprehend  
my demands?

MAC  
How do I know you haven't killed  
your other hostages?

GUNMAN  
I have killed one. I believe her  
name was Lindsay. Right, Danny? She  
wouldn't cooperate, so I had to  
shoot her. Do you agree to my  
demands, Danny's boss?

Mac doesn't answer.

GUNMAN  
Danny, your boss is delaying.  
Perhaps he wants you dead.

MAC (ON PHONE)  
I understand! If anything happens to--

The gunman hangs up, and leans over to put the phone back in its holster on Danny's belt. He leans up, pausing with his lips near Danny's. Danny slowly draws back.

The gunman turns, strolling back to the window.

INT. PANIC ROOM - NIGHT

The silence in the room is intense. The panic room is posh, like an expensive ski condo with all the amenities. The lack of windows and bank of monitors are all that break the illusion. One monitor shows the bedroom right outside the door.

A lamp on a side table is on. The lights in the kitchen and in the bathroom are also on. Someone moves around the bathroom.

Lindsay lays on the floor by the door. A bandage has been wrapped around her head, but the wound underneath is bleeding heavily. She begins to regain consciousness.

From the bathroom Ana emerges with more bandages. She trots over to Lindsay and drops to one knee. She picks up a wad of gauze and presses it to the wound.

LINDSAY  
AH!

Lindsay tries to move away. Ana catches her arm.

ANA  
No. Stop. I just got the bleeding  
slowed down.

Lindsay opens her eyes and immediately closes them. She puts her free hand to her forehead.

LINDSAY  
Who are you?

ANA  
Ana. Don't you remember me?

LINDSAY  
I do now.

Lindsay sits up, keeping her eyes closed.

ANA  
Are you okay?

LINDSAY  
Really dizzy. You were in the panic  
room, right? Where are we now?

ANA  
The panic room. He shot you. I'm  
sorry. I thought he'd left. I'm  
really sorry, officer.

Lindsay looks at her. She smiles, patting Ana's hand.

LINDSAY  
When I said I understood, earlier,  
I meant that, Ana. I was about your  
age when something just like this  
happened to me. And you didn't get  
me shot.

ANA  
He's holding another policeman hostage.

LINDSAY  
How do you know that?

Ana points to the bank of monitors.

ANA  
They're in the bedroom outside the door.

Lindsay looks at the monitors and starts to sway. She closes her eyes tight, leaning over.

ANA  
Are you okay?

Lindsay doesn't answer.

ANA  
(worried)  
Officer? Are you okay?

LINDSAY  
Help me up. Maybe that will help.

Ana takes her arm and helps Lindsay to her feet.

LINDSAY  
Show me the monitor.

Ana navigates Lindsay around furniture to the monitors. She lets go when Lindsay put her hand against the monitor showing Danny.

LINDSAY  
I have to get out of here.

She turns to Ana and begins to sway.

ANA  
You can't even stand on your own  
and you don't have a gun. How can  
you help him?

Lindsay slaps her hand against an empty holster.

LINDSAY  
Where's my gun?

Ana doesn't answer.

LINDSAY  
Ana, where is my gun?

Ana takes two steps back.

LINDSAY  
Give me back my gun, Ana.

She retreats further.

LINDSAY  
It is not a toy. Give it back to me.

Ana retreats more. Lindsay reaches for Ana but without support, she sinks to the floor. Ana returns to her side, helping her into a chair.

ANA  
You can't help him anymore than I  
could help... Them. We have enough  
supplies for four people for a  
year, but he won't wait for more  
than a few weeks.

LINDSAY  
He will kill Danny before then.

Ana doesn't respond. Lindsay pulls her cell phone from her belt.

ANA  
Cell phones don't work in here.

LINDSAY  
Have you tried?

Ana doesn't answer. Lindsay flicks her phone open, trying to focus on the blurry screen. He holds it out to Ana.

LINDSAY  
I need you to call--

ANA  
We'll wait.

Ana walks away. Lindsay puts her head in her hands.

**INT. INTERVIEW ROOM A - NIGHT (RE-ENACTMENT)**

**The COOK and Flack are in the room. The cook cries, continuing to talk to Flack in Tongan, who is attempting to be sympathetic despite the language block. Stella enters with Agent Cusack and they sit down with them. When they speak, it's like watching an old Kung-Fu movie -- they're lips move, but a voice of Mister TOPENI, a deep male voice with a thick Tongan accent, replaces their voices.**

**CUSACK  
How are you?**

**COOK  
You speak Tongan?**

**Cusack nods. The woman is relieved. She reaches across, grabbing his hand.**

**COOK  
You have to go there and find her. She--**

**CUSACK  
Let's start at the beginning. What is your name?**

**COOK  
Malieta.**

**Cusack nods. He pats her hand.**

**CUSACK  
What did you find when you came  
home, Malieta?**

**MALIETA  
The servant entrance was broken  
open. There were large holes in it.  
I went inside and everyone was dead  
-- even my sister. They had made a  
stand.**

**CUSACK  
What is a stand?**

**MALIETA  
We were trained by King Tuku'aho's  
general to fight to protect his  
property. To oppose anyone who  
would take it. Does King Tuku'aho  
know what has happened tonight?**

**Cusack shakes his head.**

**CUSACK  
We're not even sure we know what  
happened tonight.**

**MALIETA  
Has he taken King Tuku'aho's heirloom?**

**CUSACK  
I don't know yet, Malieta.**

**MALIETA  
Has Amanakie been found?**

**CUSACK  
Not yet. Malieta, you must tell no  
one about the heirloom, no matter  
who they bring to speak to you. Do  
you understand?**

**Malieta nods. Cusack smiles, patting her hand.**

**CUSACK  
You were brave. King Tuku'aho will  
be very pleased with you.**

**That doesn't help Malieta through her worry.**

**MALIETA  
Please, you must find Amanakie**

**Cusack turns to Stella, speaking in English and his own voice.**

**CUSACK  
Let's step outside to talk about this.**

**The two leave Malieta and Flack.**

**BACK TO SCENE**

INT. MAC'S OFFICE - NIGHT

A tape recorder sitting on Mac's desk finishes playing the conversation. Flack and a rookie, Vik, stand at the back of the office. Sitting in front of Mac's desk are Stella and Vik's aged grandfather, Mister **TOPENI**. Agent Cusack sits on a bench in the hall, watching them.

Mac stops the recorder.

MAC  
Who is Amanakie?

Too quick to be telling the truth, Topeni answers:

TOPENI  
I do not know.

MAC  
Are you sure? We--

TOPENI  
I am sure.

MAC  
What about the heirloom?

TOPENI  
I do not know.

MAC  
Thank you for coming in this late  
to help. If you don't mind, can you  
wait downstairs with your grandson?  
We might still need to ask the  
witness some more questions.

Topeni and Vik leave. Mac watches them pass Cusack. He stands and follows them, striking up a conversation with the Topeni.

FLACK  
I take it Cusack doesn't know  
what's happening out there?

Stella looks up at Flack then at Mac. He's shaking his head.

STELLA  
What's happening out where?

MAC  
The gunman was in the house. He's  
holding Danny hostage and allegedly  
killed Lindsay.

Stella stands.

STELLA  
Why are we still here? We--

MAC  
He threatened to throw Danny off  
the roof if he sees police or  
media. And he hasn't made demands,  
which worries me. There are three  
unmarked cars keeping an eye on  
things. Could you and Mister Topeni  
talk some more with the witness?  
See if she can tell you anything else.

STELLA  
What if this guy has killed Lindsay?

MAC  
He had better disappear for life  
because if I catch him, I might  
think he's armed.

His answer surprises Flack and Stella. She turns and walks to the door. She looks back at him.

STELLA  
What do you want me to do about Cusack?

MAC  
Tell him to sit in the observation  
room. The one with the broken mic.

She smiles, nodding.

MAC  
Don, I need to ask you a favor.

FLACK  
Name it.

MAC  
Sheldon left for his vacation right  
after work, before all this. I got  
a hold of him and he's coming back,  
but he won't be here for three  
hours. Could you keep digging for  
the owner of 14283 Rhianna until he  
gets in?

Flack smiles.

FLACK  
I've been working that since you  
first told me, Mac. But I gotta  
tell ya, this Cusack is really  
starting to piss me off. I think  
he's the reason I'm having such a  
hard time finding anything.

MAC  
More than usual?

Flack nods.

FLACK  
But there's one stone he doesn't  
know about. I'm going to try it  
now. I'll let you know what I find.

MAC  
Thank you.

Flack leaves. Mac turns, picking up his cell phone. He opens it, brings Danny's phone number up, but then clears the screen and turns to face New York outside.

FADE OUT.

END OF ACT TWO


	4. Act Three

ACT THREE

FADE IN:

INT. 14283 RHIANNA DRIVE - BEDROOM - NIGHT

Danny shifts in his chair. He glances at the clock by the bed. It's now two in the morning. He looks at the gunman standing beside the window. The man has a piece of paper in his hands that he's carefully folding. At his feet are other origami shapes.

DANNY  
You really like that origami, don'tcha?

GUNMAN  
These are for my daughter. I'll be  
seeing her soon.

DANNY  
You have a kid, huh?

The gunman smiles.

GUNMAN  
A beautiful daughter. After this  
last job, I'll take her somewhere  
no one will ever find us.

DANNY  
Your kid know you kill people for a living?

The gunman's eyes drift up. Danny's hit a sore spot.

GUNMAN  
Don't talk about my daughter, Danny.

DANNY  
Then tell me why we're just sitting here?

GUNMAN  
Why are you concerned?

DANNY  
I want to know what Lindsay died  
for; what I'm going to die for.

The gunman resumes his origami.

GUNMAN  
Something valuable.

Danny looks at the jewelry and full wallet on the dresser.

DANNY  
More valuable than what would have  
been easy to grab and run with?

GUNMAN  
Much more.

DANNY  
And this more valuable thing...  
Where is it?

GUNMAN  
In the panic room.

DANNY  
The panic room? How are you  
planning on getting in there? Since  
we're out here, I'm guessing your  
prints aren't in that biometric scanner.

GUNMAN  
The girl will open the door.

DANNY  
What girl?

GUNMAN  
The teenager inside.

Danny glances at the door.

DANNY  
Why would she do that? There's  
probably a camera in that dome up  
there. She can see you're out here.

GUNMAN  
Because after a few days you're  
partner's corpse is really going  
to stink.

Danny manages to keep control of his anger.

DANNY  
That's where Lindsay is?

GUNMAN  
She isn't Lindsay any more, is she?  
She's just meat and bones now.

DANNY  
What the hell is so important she  
had to die for it!?

With a sigh, the gunman shoots Danny in the leg. The CSI falls forward, holding the gunshot wound. He looks up when the gunman walks up to him.

GUNMAN  
Are we done talking?

DANNY  
Yes!

MATCH CUT:

INT. PANIC ROOM - NIGHT

Lindsay watches Danny fall and the short conversation between the two. The gunman goes back to his place, resuming his origami. Danny grabs a tie from nearby, ties it around his leg, and crawls back into the chair. He leans over, holding the wound.

She turns, staring at Ana. Curled up in a chair, the teenager stares blankly at the wall. Lindsay gets up and walks over to her chair.

LINDSAY  
Ana, please give me back my gun and  
unlock the door for me.

ANA  
NO!

Ana turns her shoulder to Lindsay. Lindsay looks down. She pulls her phone off, staring at the cracked LCD screen. The phone won't even power on.

ANA  
I told you it wouldn't work in here.

LINDSAY  
It was worth another try, but it's  
broken so it doesn't matter.

ANA  
You and that policeman out there  
must be close.

LINDSAY  
We're criminalist, and yes.

Lindsay looks up, finding Ana holding out her Razor.

LINDSAY  
I can use it?

ANA  
Yeah. If you can get a signal.

Lindsay smiles, taking the phone.

LINDSAY  
Thank you so much.

Ana nods. Lindsay gets up and walks around the panic room searching for signal. She finds it in a corner near the kitchen.

LINDSAY  
I have a signal!

Ana jumps up and runs to her side, pressing in close. Lindsay dials the first number that comes to mind...

INT. MAC'S OFFICE - NIGHT

Mac is on the phone with the police chief when Flack bursts in. He carries two rolled up tubes of papers.

FLACK  
You are not going to believe our luck!

Mac glances out of his office. Cusack sits on a bench in the hall. He gets up and saunters toward the office.

MAC  
Sir, I'll have to call you back.

Mac hangs up, watching Flack unroll one of the tubes on his desk. Cusack stops inside the door, leaning against the frame.

FLACK  
I couldn't get the name of the  
owner; I'm sure Cusack had something  
to do with that. But he missed a  
few things in city planning, like  
an ex-girlfriend.

Cusack doesn't respond to the comment.

FLACK  
This is the city planning map of a  
five-mile area this house is in.  
Right here is a small National Park  
preserve, right in the center of  
all this private property.

Flack circled the area of the preserve with his finger.

FLACK  
And here's 14283 Rhianna Drive.

He stabbed his finger against the section to the south of the preserve. Mac's cell phone rings. He glances at the screen, doesn't recognize the number, and sets it down again. Flack looks Mac in the eye with a grin.

FLACK  
Here's the best part. The house was  
built in the mid 30's and had a lot  
of renovations since then. But the  
one that's our advantage...

Flack unrolls the second tube revealing architecture plans. He smacks his finger down in the middle of the house were two parallel lines of dashes begin.

As he talks, he runs his finger to the end and what could be mistaken for a cottage, except that the outer wall is also dashed lines. The building is located several hundred feet from the house.

FLACK  
A nuclear bomb shelter built during  
the Cold War and now located on the  
preserve, hidden by trees, and the  
guy's view. The entrance into the  
house is in the basement. If this  
guy is in the room with the panic  
room, we can assume that's at least  
on the first floor and--

CUSACK  
Second floor. If the tunnel door  
hasn't been sealed he'll never hear  
you coming.

Flack turns to glare at the man.

FLACK  
Is the tunnel sealed?

Mac's phone starts ringing again -- same unknown phone number. He sets it down, noticing Cusack pushing his earpiece into his ear to listen to something. Cusack drops his hand, looking at Flack.

CUSACK  
I don't know. As you pointed out,  
Detective Flack, I missed a few  
things. Like your ex-girlfriend.

MAC  
Get us a warrant to go into the  
preserve two houses over. I'll ask  
the chief to get us equipment and  
S.W.A.T. I don't suppose your ex  
knows anyone who could locate the  
entrance this early in the morning?  
It's probably grown over by now.

FLACK  
I'll ask.

He grabs the papers and leaves. Mac looks up at Cusack as his phone starts ringing again. He glances at the unknown number. Cusack turns to leave, again listening to something in his earpiece.

MAC  
Thanks for the information about  
the panic room.

CUSACK  
That wasn't need to know.

MAC  
You're not going to the bomb shelter?

CUSACK  
I have to meet someone. You should  
answer your phone.

Cusack leaves. Mac answers the phone on the last ring.

MAC  
Mac Taylor.

LINDSAY (ON PHONE)  
MAC! Mac, we're in trouble here.  
I'm with--

Stella walks in.

MAC  
Lindsay, where are you?

LINDSAY (ON PHONE)  
The panic room at 14283 Rhianna  
Drive. I'm with a teenager that  
lives here. The gunman was still in  
the house, he's holding Danny hostage.  
Mac, he shot him.

Mac takes the news calmly.

MAC  
I know Danny's being held hostage.  
Are you two okay?

LINDSAY (ON PHONE)  
Yeah.

MAC  
You can see the gunman and Danny?

LINDSAY (ON PHONE)  
Yeah. This room has a bank of  
monitors and one shows the bedroom  
outside the door. I have to get out  
of this room. I have--

MAC  
No, Lindsay. Stay in there with  
that girl. You two are safe in there.

LINDSAY (ON PHONE)  
But Danny--

MAC  
Lindsay, stay in there. That girl  
is a witness. She is your  
responsibility, not Danny.

Lindsay sighs. She's frustrated with the order.

LINDSAY (ON PHONE)  
Okay.

MAC  
I need a description of the gunman.

Mac grabs a piece of paper and pen.

MATCH CUT:

INT. PANIC ROOM - NIGHT

Lindsay turns to Ana. She sways and braces herself against the wall.

LINDSAY  
Ana, I need you to stand here in  
this corner. I'm going to go over  
to the monitor and describe the  
gunman to you. You--

ANA  
Why not just take a picture with my  
phone and send it to them?

Lindsay smiles when Mac chuckles.

MAC (ON PHONE)  
A photograph would work better.

LINDSAY  
(to Mac)  
I'll get a photo and send it to  
you, but I have to hang up.

Lindsay closes her eyes. Bracing herself hasn't stopped her from swaying.

ANA  
(quiet)  
Are you okay?

MAC (ON PHONE)  
Okay. Call back once you've gotten them.

LINDSAY  
Uhm... I...

MAC  
Lindsay?

She collapses and the call drops. Ana falls to her knees beside her, shaking her. She grabs the phone and moves into the corner, dialing the last phone number.

MAC (ON PHONE)  
Lindsay? What happ--

ANA  
She passed out. She--

MAC (ON PHONE)  
Is she hurt?

Ana starts to lose it.

ANA  
Yeah. The guy shot her in the head.  
It won't stop bleeding! I keep putting--

MAC (ON PHONE)  
Okay. Okay, Ana--

ANA  
If she doesn't get to a hospital  
soon, she--

MAC (ON PHONE)  
Ana!

ANA  
What?

MAC (ON PHONE)  
Is it bleeding again?

ANA  
Uh-huh.

MAC (ON PHONE)  
Put another bandage over the old  
one. Don't remove the old one. And  
then cover her with a blanket.

Mac's calm works on her.

ANA  
Okay.

MAC (ON PHONE)  
After you've taken care of Lindsay,  
I need you to take the photos of  
the man?

ANA  
Okay.

MAC (ON PHONE)  
We'll get through this. Lindsay  
will be fine.

ANA  
Okay. I have to hang up now.

MAC (ON PHONE)  
Okay. I'll be waiting.

Ana moves out of the corner and the call drops. She runs to the bathroom.

INT. CSI - A.V. LAB - NIGHT

**HAWKES** is trying to clean up photos of the killer. On a computer nearby are several photos of teenagers being teenagers. A few have Ana in them. Stella walks in, watching over Hawkes shoulder.

STELLA  
Where's Adam?

HAWKES  
He gave up on the photographs. He  
told me I could give this new software  
a try, but he didn't seem convinced  
it would help.

STELLA  
Has it?

Hawkes shakes his head.

STELLA  
Is it her phone camera?

HAWKES  
No. The resolution is just fine.  
See these lines that are distorting  
the image.

STELLA  
Yeah?

HAWKES  
That's from the monitors. On these  
old CRT monitors, the lens can't  
pick up the details due to a mismatch  
of frequency or the way the  
phosphor dots are perceived by the  
camera lens. It's not something Ana  
has any control over.

STELLA  
Ana's description didn't help then?

He shakes his head. Stella looks at the other photos.

STELLA  
What are these?

HAWKES  
Ana accidentally sent those with  
these others.

The photographs intrigue Stella. She pulls one up on the larger screen. Hawkes looks at it.

HAWKES  
Something wrong?

STELLA  
Is this Ana?

Stella points at Ana. Hawkes shrugs.

HAWKES  
I don't know. Why?

STELLA  
I've seen her somewhere. Run her  
photo too.

HAWKES  
You think she's involved.

STELLA  
I don't know, but she looks  
familiar. Since the Secret Service  
is involved, anything's possible.  
They do protect children under the  
age of sixteen.

HAWKES  
For current and past presidents and  
vice-presidents. I'd think we'd  
know if it were one of those.

STELLA  
I'm sure they make exceptions.

Her phone rings and she answers it.

STELLA  
Yeah, Mac? I'll be right there.

Stella stops at the door.

STELLA  
Sheldon.

He looks back at her.

STELLA  
I know you were looking forward to  
this vacation. Thank you for coming back.

HAWKES  
They're my friends too.

INT. MAC'S OFFICE - NIGHT

Stella and Mac stop talking when Cusack comes in. The dignified Ambassador **NASILI**, representative of Tonga in the United Nations, follows him.

CUSACK  
This is Ambassador Nasili. He owns  
14283 Rhianna Drive.

Mac doesn't get a chance to respond.

NASILI  
I am told that there is a gunman  
holding hostages in my home.

Mac looks at Cusack.

MAC  
The only way you would know that,  
is if you've been monitoring  
my calls.

CUSACK  
We're the Secret Service. We don't  
monitor calls.

MAC  
But the CIA does, don't they?

CUSACK  
We have the author--

NASILI  
Does this really matter at this time?

Both men look at him.

NASILI  
There are hostages being held at my  
residences, are there not?

MAC  
Why is that? What does this man want?

NASILI  
He his trying to steal a royal  
heirloom. He believes it belongs  
to him and has attempted to steal  
it before.

MAC  
Why would your King send a royal  
heirloom to America?

NASILI  
He felt it was safer here.

Mac isn't buying this story.

MAC  
In a panic room?

NASILI  
Yes.

MAC  
So you're telling me that a teenager,  
who is in the panic room with my  
injured CSI, is protecting an  
heirloom that could most likely  
be replaced?

Nasili doesn't answer.

MAC  
Is this thing really worth lives?

NASILI  
It is not your country that this  
child protects, it is ours, and I  
did not come here to argue politics  
with you. I am told you are in  
contact with the terrorist. I wish  
for you to contact him again. Tell  
him that his Royal Highness King  
Tuku'aho is willing to offer  
anything he desires for the safe  
release of his hostages.

Mac contemplates the offer.

MAC  
Has this man taken hostages when  
he's tried to get this before?

NASILI  
Yes. But the King of Tonga is  
willing to pay whatever he asks for  
the release of everyone, Detective  
Taylor. Please. Call him.

Mac doesn't do it until he looks at Stella. She really wants him to make the call, but she's not going to ask. Mac picks up his desk phone handset and starts dialing.

INT. 14283 RHIANNA DRIVE - BEDROOM - NIGHT

Danny's phone starts ringing. The gunman walks over to him, expecting him to answer it.

GUNMAN  
Answer it.

Danny just glares at him. The gunman puts the barrel of his gun against Danny's forehead.

GUNMAN  
Answer it.

Danny yanks it from the holster and holds it out to the gunman.

DANNY  
It's for you.

GUNMAN  
Most likely. Put it on speaker, Danny.

He does.

GUNMAN  
Yes?

MAC (ON PHONE)  
Where's Danny?

DANNY  
I'm here.

MAC (ON PHONE)  
I have Ambassador Nasili here. He  
would like to negotiate--

The gunman laughs, stepping back.

GUNMAN  
Is he there to offer me anything I  
want for the release of the  
hostages? Again.

NASILI (ON PHONE)  
I am.

The gunman leans on the arms of the chairs, looking Danny in the eyes.

GUNMAN  
There is nothing that man could  
offer that I want. He knows what I  
want, and this time, Nasili, your  
King will have to negotiate with  
the Americans since they want their  
officers alive.

NASILI (ON PHONE)  
I can give you anything you want.  
Anything. What you are trying to  
take, you will never get.

GUNMAN  
When I leave here, Nasili, I'm  
taking her with me. And Danny too.  
For entertainment.

The gunman pushes off the chair and walks to the window again. On the road he can see emergency vehicles.

NASILI (ON PHONE)  
Surely there is something we can offer.

The gunman doesn't answer.

DANNY  
I think he's done talking.

MAC (ON PHONE)  
Hang in there, Danny. You'll be  
seeing Montana soon.

Danny glances at the panic room door.

DANNY  
(relieved)  
Will I?

MAC (ON PHONE)  
Yeah. Let us know if he changes his  
mind about the Ambassador's offer.

DANNY  
You'll be my first call.

Danny hangs up the phone.

GUNMAN  
You want to visit Montana?

DANNY  
Yeah.

GUNMAN  
Perhaps we'll go there.

DANNY  
Perfect escape for you and your daughter?

GUNMAN  
My daughter, me... And you.

The two men look at each other. Danny realizes his situation goes beyond simply being this man's hostage. The gunman looks away, dropping the conversation.

FADE OUT.

END OF ACT THREE


	5. Act Four

ACT FOUR

FADE IN:

INT. PANIC ROOM - NIGHT

Lindsay opens her eyes, staring at the ceiling. A pillow has been put under her head and she's covered with an angora blanket.

ANA (O.S.)  
I don't know. She's been out since  
I talked to that guy.

LINDSAY  
Ana? Who are you talking to?

ANA (O.S.)  
She's awake! Who are you?  
(to Lindsay)  
Stella. She answered the phone  
number you called before. Are you  
okay?

Lindsay sits up, pushing the blanket off. She grabs the edge of the kitchen table and pulls herself into a chair.

LINDSAY  
Did you take the man's pictures?

ANA (O.S.)  
Yeah, but Stella said they were too  
fuzzy for the software. She said  
they think the monitors in here are  
too old and causing it.

Lindsay lays her head on an arm on the table.

ANA (O.S.)  
Are you okay? You're so white.

LINDSAY  
Blood loss.

ANA (O.S.)  
Blood loss? What does that...  
(beat)  
Stella says you need to lie down.  
She said there might be head trauma.

Lindsay looks at Ana. She has changed into jeans and a T-shirt. She's pressed into the call corner.

LINDSAY  
Don't use up the battery, Ana. We  
may still need it.

ANA  
I gotta hang up, Stella. We'll call soon.

Ana hangs up and walks over to Lindsay, laying her hand on her arm. Lindsay looks up at the worried teenager. Ana reaches out, pushing her hair back from her eyes.

ANA  
I'm sorry your head hurts so bad.

LINDSAY  
Thank you.

Ana sits down on a chair next to her, staring at the phone in her hands.

LINDSAY  
Did the man touch you or anything  
you brought in here?

Ana starts to shake her head. She suddenly jumps up, runs across the room, and comes back with the metal case. Lindsay sits up, looking at it.

LINDSAY  
What is it?

ANA  
I don't know, but that guy blew up  
the safe to get to it. Then he  
started... shooting.

Lindsay pats the teenager's arm.

LINDSAY  
We can still figure out who the guy  
is without a photograph.

Ana looks at her.

ANA  
How?

LINDSAY  
I need you to go look around for a  
paintbrush, some clear tape, white  
paper, and a pair of scissors.

Ana trots off on her scavenger hunt. Lindsay goes into the kitchen. She searches the cupboards until she finds a can of hot cocoa. She tests the powder -- it will pass as fingerprint powder. She grabs a roll of aluminum foil and returns to the case.

Lindsay carefully covers one side of the case with foil. Ana comes back with a large makeup brush and the other items. Lindsay picks up the brush.

LINDSAY  
Was there blush with this?

ANA  
No. What's the aluminum foil for?

LINDSAY  
To preserve the prints on the other  
side. It has to be processed with  
real forensic tools to be accepted  
in a trial. Help me tape the  
tinfoil down.

When they finish, Lindsay gives Ana the makeup brush back.

LINDSAY  
Wash this out and dab it on towels  
until no more water comes out.

While Ana does this, Lindsay starts cutting pieces of paper for fingerprint cards. Ana returns with the brush, handing it to Lindsay. The CSI opens the can of hot cocoa, turns the case around, and powders the side.

Fingerprints appear across the surface. She lays the case down on the tinfoil side, picks up the tape, carefully lifts a print, and presses the tape to a piece of paper. She hands it to Ana.

LINDSAY  
While I get these off, you take pictures.

Ana grabs her phone and starts taking photographs.

Lindsay begins having trouble with her vision and it's progressive. Two dozen prints later she grabs the edge of the table to keep from falling out of the chair. Blood has started soaking through the bandage on her head. Ana stops, staring at her.

LINDSAY  
Take photographs of the rest of  
these, then call Mac before you  
send the photos. I... I'm going to  
lay down.

ANA  
There's more prints. Do you want me  
to get them? I was watching. I can.

Lindsay looks at her. She pats Ana's shoulder.

LINDSAY  
Yeah. You do that, okay?

Ana nods. Lindsay staggers to a couch to lie down. Ana watches her a moment, then turns back to the case. She continues lifting prints just like Lindsay had been doing.

EXT. PRESERVE - NIGHT

Thick woods hide the surrounding homes from view. Stella and Mac stand together, watching workers using equipment to try breaking down the bomb shelter door.

The shelter was made to withstand a nuclear blast and proving it can withstand a few puny humans too. Stella's phone starts to ring and she answers it, putting her finger in her ear.

STELLA  
Lindsay or Ana?

ANA (ON PHONE)  
Ana. I have pictures of fingerprints.  
She said to send them to Mac, but  
she doesn't know you said to call  
you. What should I do?

STELLA  
From who?

ANA  
The guy outside the panic room.

STELLA  
How did you two get fingerprints?

Mac looks at Stella.

ANA (ON PHONE)  
A case that the guy touched.  
Lindsay said you could figure out  
who he is with them so she used hot  
cocoa and tape and paper to get  
them. I took the photos. Who do I  
send these to?

STELLA  
Send them to me, I'll forward them  
to the right person.

ANA (ON PHONE)  
Stella, are you coming soon?  
Lindsay is really white. Her lips  
are turning blue and she won't wake up.

STELLA  
Lindsay is hurt very badly, Ana.  
You have to take care of her until  
we can get there. Keep her covered  
and put pillows under her feet so  
they're above her heart. If she  
wakes up, try to keep her awake as  
long as you can. Can you do all  
that for me?

ANA (ON PHONE)  
I'll try.

STELLA  
Send me the photos and then go take  
care of her for me.

ANA (ON PHONE)  
Okay. Bye.

The call drops and immediately pictures started coming through. Stella forwards them to the lab.

MAC  
What's going on?

STELLA  
Lindsay is going into shock. We  
have to hurry.

MAC  
That I gathered. What's with the  
photos? I thought Hawkes and Adam  
said the monitors were too old to  
get photographs.

Stella smiles at him.

STELLA  
Lindsay used hot cocoa, tape and  
paper, and then had Ana take photos  
of the prints.

Mac smiled, looking back at the workers.

MAC  
I'll have to ask her how she  
thought of hot chocolate. Wouldn't  
have been my first choice.

STELLA  
What would you have used?

MAC  
I'm fond of powdered sugar, myself.

Stella smiles, looking up.

STELLA  
You two will be swapping kitchen  
forensics before the day is over.

He sighs.

MAC  
I hope so, Stella.

INT. CSI - FINGERPRINT LAB - NIGHT

The APHIS computer is running fingerprints. On another, Hawkes reads an online newspaper. The APHIS computer beeps and he rolls over to it. Hawkes grabs his cell phone and dials.

HAWKES  
Stella, I have a hit on the man _and_  
teenager's prints.

STELLA (ON PHONE)  
Just a second. Let me get Mac.

MATCH CUT:

EXT. PRESERVE - NIGHT

The bomb shelter door lays on the ground in pieces, revealing a stylish '70s bomb shelter inside. S.W.A.T. and several NY police, including Flack, are waiting at the door. The **SWAT LEAD** is giving them orders.

Mac stands back, watching and listening. He glances across the crowd of workers. Cusack leans against a tree, watching the scene. Stella comes up behind Mac with her cell phone pressed to her ear. She stops next to him, turning on the speaker.

STELLA  
Go ahead Sheldon.

HAWKES (ON PHONE)  
The man has been charged with  
assassination and treason in  
several states, Russia, and Tonga.  
And he's supposedly dead.

Mac looks at Cusack. He has his earpiece pushed in, listening to something.

MAC  
Why am I not surprised?

STELLA  
What did you get from Ana's prints?

HAWKES (ON PHONE)  
That's interesting too. She's  
Princess Amanakie, daughter of King  
Tuku'aho, and this gunman has tried  
to kidnap her five times. All the  
articles I've read never told why.

STELLA  
That's why she looked familiar! She  
was accepted to Yale and came to  
America to finish high school.  
Probably after the last kidnapping  
attempt. And I bet she's the heirloom.

Mac isn't surprised.

HAWKES (ON PHONE)  
Why would this guy keep trying to  
kidnap her? The King has eight  
other children.

Mac knows, but he's interrupted before he can answer. Four S.W.A.T. come out of the bomb shelter with Officers Jacobs and Raimes. The officers have been stripped to their underwear and T-shirts. Medics guided them away, offering them blankets.

SWAT LEAD  
Okay. Let's go explain to this  
asshole how we do things in  
New York.

The group moves in. Mac walks over to an officer, grabbing his shoulder.

MAC  
Give me your vest.

The officer complies without argument. Stella approaches closing her phone.

MAC  
I'm going to get my CSI out.

STELLA  
I'll be waiting with the ambulance.  
Be careful.

He follows the group into the tunnel leading to the house.

INT. 14283 RHIANNA DRIVE - BEDROOM - MORNING

Danny stares at the floor. The gunman is folding more origami. A thin slice of light flashes across Danny's eyes, unnoticed by the gunman. Danny looks in the direction of the light, finding Flack standing just outside the gunman's view.

He signals to Danny: He'll count to three and Danny is to hit the floor.

Danny adjusts his leg, preparing to lunge from the chair. The gunman glances at him but does nothing. Flack peeks around the corner, signaling to someone out of sight to wait. The gunman looks back out the window.

Danny and Flack meet eyes. Flack holds up three fingers. Before he counts off the third one Danny hits the floor. The movement makes the gunman turn as officers and S.W.A.T. storm the room.

Flack puts himself between Danny and the gunman. The gunman aims his gun at the officers -- he won't abandon his treasure without a fight.

Danny tries to go to the panic room door. He looks back when Mac grabs him by the back of the shirt. Mac practically drags Danny into the hall.

INT. 14283 RHIANNA DRIVE - UPSTAIRS HALL - MOMENTS LATER

Danny tries to go back in, but Mac pulls him back.

MAC (O.S.)  
STAY DOWN!

DANNY  
Lindsay's in the panic room!

Danny wrestles free.

MAC  
Danny, get down!

Mac grabs both of his arms, throwing him to the floor seconds before shooting starts.

FADE OUT.

INT. PANIC ROOM - MORNING

DANNY (O.S.)  
Lindsay, wake up. Look at me, Linds.

Lindsay opens her eyes, looking into his eyes. He smiles, gently stroking her face. She returns it with a weak smile.

DANNY  
Hey there, Montana.

She looks at the paramedics passing the couch with a gurney.

LINDSAY  
That for me?

DANNY  
Yep. They're going to take you to  
the hospital to get your oil changed.

She smiles more, taking his hand, but it's pulled away when a paramedic takes it to insert an I.V. Another **PARAMEDIC** comes around the couch and picks up her wrist, watching his watch.

LINDSAY  
Where's Ana?

DANNY  
Waiting for you in the hall.

PARAMEDIC  
We have to move her now.

Danny gets up, moving out of the way. They move her onto the gurney and strap her to it. Danny limps over, taking her hand. She looks at his leg.

LINDSAY  
How's you're leg?

DANNY  
Just a flesh wound. Nothin' to  
worry about.

She smiles. They leave the panic room.

INT. 14283 RHIANNA DRIVE - UPSTAIRS HALL - MORNING

In the hall they pass Mac. Danny moves aside to let Ana take Lindsay's hand. He and Mac follow behind them.

INT. 14283 RHIANNA DRIVE - STAIRCASE - MORNING

Ambassador Nasili reaches the top at the same time the group does. The paramedics start a slow descent with Lindsay. Mac and Danny hang back.

NASILI  
Princes Amanakie, we have a car to take--

ANA  
I'm going to the hospital with my friend.

NASILI  
Princess Ama--

ANA  
End of story.

They pass Cusack coming up. He stops on the stairs and watches the paramedics, Ana, and the ambassador go out the front door. Mac walks down to the same step Cusack stands on and stops. Danny stops behind them.

MAC  
When are you or he going to tell  
Princess Amanakie?

Cusack turns. He glances at Danny, but focuses on Mac. Mac looks at him unflinching.

CUSACK  
Tell her what?

MAC  
That the gunman was her biological  
father and all the kidnap attempts  
was a father trying to take his  
daughter. I'm guessing her mother  
is the King's wife, or something  
like that. That would make Princess  
Amanakie illegitimate, wouldn't it?  
Probably not even a real heir to  
the throne.

Cusack turns, starting down the stairs.

MAC  
She deserves to know.

Cusack spins and storms up to him.

CUSACK  
If you, or you--

He glances at Danny.

CUSACK  
--so much as tells your dog, you  
will be fired and find it difficult  
getting a job at a fast food  
restaurant. You will not be able to  
travel on an airplane, boat, train,  
ever again. You will never have  
another credit card. Renting will  
become a problem. Your driver's  
license will be revoked. Do we  
understand one another?

With a cold smile, Mac nods.

MAC  
Thank you, Special Agent Cusack.

CUSACK  
For what?

MAC  
Confirming my theory about what was  
really happening. You wanted us to  
stop him, for good, because you  
knew that if he shot at a New York  
police officer, they'd shoot to  
kill. You and those you're protecting  
wanted us to cover this up so she  
and the people of Tonga would never  
find out the truth. Better to live  
believing she's the King's daughter,  
than to learn her real father was  
an assassin.

Cusack backs down a couple of steps with a real smile.

CUSACK  
Detective Taylor, if you ever get  
bored with your job, call me. You  
would fit in well with my team.

Cusack turns and trots away. Danny limps down to the step next to Mac. They look at each other.

MAC  
So this flesh wound you have...

Danny shrugs.

DANNY  
Hurts like hell. Give me a lift to  
the hospital?

Mac nods. The two start a slow descent.

DANNY  
You aren't thinking about that  
offer, are you, Mac?

Mac grabs Danny's shoulder, stopping him.

MAC  
Danny, you can't talk about this to  
anyone. Not even to Lindsay.

DANNY  
Yeah. I know. That's not what I asked.

MAC  
No, Danny. I'm not going anywhere.

Danny starts hobbling and Mac follows.

DANNY  
Good, cuz could you imagine Stella  
coming in to rescue one of us? Her  
aim scares me some days and she'd  
shot an officer or something. Then  
there'd be all the bad media. And  
we'd all have a mountain of paper  
work. The--

MAC  
Danny, you need to get some sleep.

DANNY  
Linds said I needed less sleep.  
Everyone's confusing me!

Mac laughs as they go through the front door.

FADE OUT.

END OF EPISODE

WGA # 1274217

Written by A. Rhea King


End file.
